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How do I know I'm really me? | page 1, 2

Sleep is likely the setting for another philosophers' treat, "The Tale I Told Sasha." At any rate, the author, Nancy Willard, seems to hint as much by taking her epigraph from "Through the Looking Glass," that great philosophical dream. Like Lewis Carroll's Alice books, this tale is about a voyage through a quasi-nonsensical landscape riddled with dreamlike logic. The narrator, a little girl about the same age as Lemieux's heroine, chases a yellow ball through the shadow cast by a mantel clock (more shades of Alice, who climbs up on her mantelpiece to go through the looking glass), then follows it through a fantastical world. She encounters a boy with a red balloon, then a golden fish. She passes through the place where lost objects congregate: a dropped needle, puzzle pieces, that card that's been missing from the deck for years. At last she finds a farmer, the King of Keys, who helps her with her quest.

Willard is one of the most musical poets around, and only my respect for copyright law keeps me from quoting this lovely lyric in its entirety. It begins with deliberately modest restraint:

Mother gave me a yellow ball
because the day was wet and dull.
Our dining room was dark and plain.
Our living room was plain and small.

When the narrator passes through the clock's shadow, however, her plain words soon take on a chiming richness. She meets a guide, who tells her:

"All winged travelers must walk.
All those with wheels get to ride."
He did not warn me of the web
that shimmered on the other side.

Though Willard's "twilight sherbet, pansy creams, /and starlight-covered jellybeans" may be too sweet for some tastes, she undercuts them with sleeping tigers, roses astonished by the frost, and creeping shadows.

David Christiana's illustrations -- bright, muddy watercolors -- amplify the text they illustrate; too bad they didn't go further. The King of Keys plays a guitar with birds and houses for tuning pegs -- a nice addition. And when he throws the yellow ball home for the narrator, he first opens a wall between worlds by undoing an enormous zipper. It's an absurd, appropriate image. Christiana also makes some wise choices about what not to illustrate ("a hundred pencils, swift as rain" are much better left to the imagination). But I wish he hadn't given the characters such cute faces. An illustrator with a darker vision -- such as Barry Moser, who collaborated with Willard on several earlier books -- might have done a better job of keeping the occasional sweetness of the text from cloying.

What does it all mean? Like a dream, it's impossible to know, but its atmosphere will linger, full of portent and promise, all through the day. How lucky readers are that Willard's publishers trust her enough to let her get away with such beautiful nonsense.
salon.com | Sept. 28, 1999

 

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About the writer
Polly Shulman is a senior editor at Discover magazine and a contributing writer for Salon Mothers Who Think. For more columns by Shulman, visit her column archive.

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